Triplicate is hot and humid (review)

By on June 22, 2016

CHICAGO — With each passing year, the gaggles of new Dance Center of Columbia College grads brings the inevitability of at least one coming out concert at DIY venues across the city. The class of 2016 shows promise as it enters the real world, teeming with talent, if not confidence. Triplicate featured three such young grads, who presented a trio of works last weekend. Shanna Fragen, Brenna Ginsberg and Dalton Rhodes piled their resources together for a brief, but substantive and well-produced summer evening at the hot and steamy Hamlin Park Theater.

triplicate
(Clockwise from right) Brenna Ginsberg, Dalton Rhodes and Shanna Fragen | photo by Max Johnson

In each piece we saw themes related to intimacy and agency. Ginsberg’s Meat.Meet.Me. is a solo in three distinct parts. Though it goes on longer than it has to, Ginsberg is an exceptional mover whose coy sexuality in the first section (via a clever additive phrase incorporating model walks and hip-popping poses) spirals into a more vulnerable, and perhaps honest, expression of herself.

Shanna Fragen addresses female sexuality and indulgence more directly in Turn On, a quintet of woman whose movements draw from Graham and Gaga with gestural and literal references taken from a proverbial night at Tequila Roadhouse (not that I’d know anything about that). The closer, Rhodes’ trio dreamsongs, is antithetically etherial compared to the others. Inspired by the otherworldly, Rhodes and two women don black mini dresses and dance in a dream state, rarely together or on any sort of pulse against a sound design of his creation. Despite the dancers’ dissonance with the score and each other, there is a delicate intimacy between dreamsongs’ three characters as they share melancholy moments we perhaps aren’t meant to understand.

Together, the three works are complimentary without too much same, same; despite the choreographers’ similar lineage each is pursuing his/her own line of investigation, and each has something important to say. What I found challenging, however, was the bashfulness with which they approached the work, or at least the execution of it. This concert tackles some big, salient themes, and at some point, needed a big wallop to bring its wilting audience to their feet. Fortunately, the “triplicates” have plenty of time, and potential, to pack a punch next time.

Lauren Warnecke is a freelance dance writer and critic based in Chicago, IL, currently writing at the Chicago Tribune, and formerly for SeeChicagoDance and Windy City Times. Additionally Lauren contributes regularly to Chicago Magazine and Createquity, and has credits at Dance Magazine, Huffington Post, and more. Lauren is the founder and editor-in-chief of artintercepts.org. In addition to writing, Lauren is an adjunct instructor at Loyola University Chicago in the Dance and Exercise Science programs, and teaches yoga, indoor cycling, and aquatic fitness at XSport Fitness locations around Chicago. She has created presentations, courses and curricula for universities, professional, and pre-professional organizations; presented at national and international conferences; and, for over a decade, managed extra-curricular arts programs for youth and adults in the non-profit sector. She is certified in a few random things, including the Cecchetti Method, olympic weightlifting, personal training and urban composting. Tweet Lauren @artintercepts.

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